In relation to Alain Resnais's Muriel ou le temps d'un retour (1963)

'Resnais's films bear witness not only to the long reach of "global" memories but also to those stemming from some of the darkest and most repressed zones of the national past. It is not only the "monstrous historical spectacles" of the camps and the bomb that provoke the pain and melancholy felt in Resnais's cinema. It is also the bitter memory of the Algerian War and especially that of the Occupation' (Naomi Greene 1999: 34)